AFC’s offices are a buzz this morning, as art news just keeps pouring in!

Jerry Saltz has written a letter to MoMA’s Trustees imploring them not to proceed with Diller Scofidio + Renfro’s design, which he believes won’t be conducive to viewing art. Good luck with that Jerry. This isn’t a problem with the architects, but with their clients. [Vulture]

It looks like the Baltimore Museum of Art has retrieved its stolen Renoir from Baltimore resident Marcia Fuqua, who’d bought the painting at a flea market for $7. Since the work was stolen, the court ruled that Fuqua doesn’t have a right to it. The work was estimated in value at between $75,000-$100,000. [TAN]

Jeffrey Deitch gets a profile in New York Magazine, which washes over curator Paul Schimmel’s dismissal in favor of a creating an image of a “swashbuckling” badboy whose sensational shows were too New York for LA to handle. This is in part true, since L.A. residents didn’t seem to want a celebrity focus in their museums. But Deitch was never supposed to be the museum’s curator, he was its director, and he failed in that department when he lost the support of the board and didn’t raise the necessary funds. He’s a better curator, he’s going back to that, and is looking into space in Red Hook and the so-called SuperPier on the Hudson at 14th Street. [Vulture]

Looks like Occupy may be re-emerging? After Anonymous holds a Bush protest today at Grand Central the Whitney Museum will host an “officially sanctioned” Occupy network at the museum tomorrow night. [twitter]

Former New York Times Editor Bill Keller is upsetting people again. This time, following his wife’s lead in The Guardian, he ruminates on whether Lisa Bonchek Adams, a cancer patient suffering from 4th stage breast cancer, tweets too much. Can’t wait for the New York Times Public Editor Margaret Sullivan to weigh in on this one. [The New York Times]

The Globe and Mail’s Artists of the Year are predictably conservative. Painter Kim Dorland is dubbed “artist of the wild”, and why is Vince Gilligan, an American, the recipient of awards given to Canadians? [The Globe and Mail]

The BBC may be bringing outside TV to North Korea. A senior diplomatic Brit is quoted as saying “I have always believed what brought down the Berlin Wall was not highbrow diplomacy but Dallas and Dynasty.” [TIME]

Artist, filmmaker, and now generally popular person Steve McQueen took home the Golden Globe for Best Picture for 12 Years a Slave at last night’s ceremony. [Gawker]

In case you missed it last week, Amanda Hess really stirred the pot with her Pacific Standard cover story “Why Women Aren’t Welcome on the Internet.” She details death threats that have come her way for writing frankly about sex, and notes statistics that show that this kind of abuse happens far more often to women than men. Times op-ed columnist Ross Douthat responds and suggests that ridding the Internet of male-on-female comment wars is “ultimately a task for men” and involves finding “a more compelling vision of masculine goals,” neither of which is going to help out female writers who’re dealing with trolls right this second. [The New York Times]

The people who dress as blow-up dolls are coming out, and have done so through the documentary “Secrets of the Living Dolls”. We can’t watch the whole thing because we’re not in the area, but maybe our UK readers will have more luck with it. [laughing squid]

And because we’re constantly thinking about butt plugs in preparation for our upcoming benefit auction, I found the “baby Jesus butt plug” who may have been birthed by an alien. [The Slaughter House]

Jerry Saltz calls for an end of what he calls Neo-Mannerism. You know all those tropes that make art look like art? Saltz is tired of all of them. The offenders aren’t named though, which is a bit of a disappointment. [New York Magazine]

We use Google Docs all the time to edit on the blog, but we’ve been noticing a bunch of bugs lately. There’s no better alternative to working in the cloud with all your other editors—yet, but Draft’s one alternative we’re curious about, especially since it doesn’t immediately let other collaborators delete your original copy. [Draft, via @Choire]

Having trouble figuring out whether we liked your show? Try plugging the text into Stanford University’s live demo for predicting the sentiment of movie reviews. It creates a diagram to reflect how positive or negative the review actually was. [Stanford]

Mike Kelley opens on Sunday. In anticipation of the show, The New York Times has a profile on the artist which talks about his position to education (he thinks he’s been brainwashed), pop culture (he thinks it’s garbage), and mud wrestling (he’s fascinated by it). [The New York Times]

On NPR this morning, we got to hear some fluff about “3-D Printing a Masterwork for your Living Room.” From the sounds of it, 3-D printed sculptures might be an affordable way for art to reach the masses—and maybe a way for museums to make a buck. [NPR]

The Walker Art Center’s Internet Cat Video Film Festival is hitting the road, and stopping in Brooklyn. Surprisingly, the museum’s fest isn’t going to be at an art spot; rather, on October 25th, you can grab seats at the Warsaw, one of Greenpoint’s largest music venues. [The Walker Art Center]

Update on 3rd Ward’s closing: tenants are trying to stay in the building. [DNAinfo]

Only the Wall Street Journal would name Natacha Ivanova, Hugo Wilson, Denis Darzacq, and Luka Fineisen “rising art stars.” Those are four of the five names cited in an article that profiles terrible art by artists you’ve probably never heard of for a reason. Nina Beier, the fifth artist chosen, looks like a reasonable pick. [The Wall Street Journal]

MoMA has purchased Occupy Wall Street’s print portfolio, a series of 31 screenprints organized by the Brooklyn Artists Alliance. [ArtInfo]

Hyperallergic gets a nice clip from the Times in an article about Amazon Art. “Ms. Nielsen, a Brooklyn artist, moved quite a bit of merchandise. After the Web site Hyperallergic included one of her prints in an article titled “Ten of the Cheapest Artworks on Amazon Art,” she sold eight prints the next week.” The rest of the article sums up a program most readers will already familiar with, since it’s three months old. [The New York Times]

In Pittsburgh, Kurt Hentschlager’s installation Zee is shutting down after three viewers had to be treated for “seizure-like symptoms”. The installation, which warns people with anxiety, epilepsy, and claustrophobia from entering, includes lots of strobes and a fog machine. [The Huffington Post]

Felix Salmon’s reflections on an excerpt of Dave Egger’s new dystopian fantasy about social media, “The Circle”, make us very wary of the new book. [The New York Times Magazine]

This week’s dive into event listings yielded a trove of art events so glorious that 900 words could not contain them. The Art Book Fair and the Dumbo Arts Fest are just a few of this week’s gems. Whether you’re painting this week or trying to hack the mainframe, we’ve got an art event for that.

The Frieze talks are finally out and available to download as podcasts. Organized thematically, the series centers on the “atlas” and the way that artists and thinkers map, organize, and describe the world. The selection includes some really boring scholars talking about vaguely interesting subjects for an hour and a half (good luck getting past 30 minutes), directors from the Whitney and MOMA reeling a load of PR bullshit about plans to renovate, and some engaging and half-relevant discussions about the Occupy movement, and artists “in conversation”.

AFC has picked out what to listen to and what to avoid, so that you don’t waste your time listening to 20 hours of recorded footage.

Occupy Wall Street protests Frieze New York. They also support New York City & Vicinity District Council of Carpenters who say the fair uses contractors who “do not pay the area standard wages to all their employees including providing or fully paying for health benefits and pension” The contractor was not named. [The Art Newspaper]

A day after Cooper Union announced it would begin charging graduate students tuition in September 2012, students walked out. [Gallerist]

Last month, Christian Viveros-Faune started an online conversation with fellow Village Voice critics Martha Schwendener and R.C. Baker with a simple question: “If an artist had something important to say about the world, would anyone really listen?”

Two Fridays ago at Spring/Break, William Powhida hosted an open forum with Viveros-Faune, Martha Schwendener, and R.C. Baker to continue the conversation, particularly in light of Occupy Wall Street. Here's a bit of that exchange.